In Los Angeles’ new era of hip-hop, many artists have found it most beneficial to represent themselves and remain independent. Pac Div discovered this reality after signing with Universal Motown in 2009 when they felt that commercialized stardom wasn’t a good fit for them and they ripped up the contract. The West Coast trio was faced with the difficult task of rebuilding their sound. In the meantime, Pac Div released Don’t Mention It and Mania!, which were two decent mix-tapes with a couple good singles off each, but neither was the ground breaker that they needed. This didn’t occur until they dropped The Div (2011), which proved that they needed to be independent all along.

Through the journey of rediscovery of themselves and their music, Pac Div took a break and did not release any music for a whole year until GMB. GMB stands for the members of the group: Gabe, Mike and Bryan, and it serves as a reinvention of the group as they return to their roots by doing what they do best in what they call “following their own formula.” In this project, Pac Div does an incredible job of redefining themselves as heavy hitters on the scene that makes their veteran fans remember why they fell in love with their music in the first place, and makes new fans wonder why they hadn’t been rocking with them a long time ago.

In an exclusive interview with 90.5FM KSJS, BeYoung says that GMB has, “the feeling, you gone have that payday feeling, and then you gone go home and roll up, like its one of those days where you might be able to walk on water, its really something to feel good about. We sticking to the script, we’re still Pac Div, but more so, I think we’re just hitting you hard the whole time.”

GMB consists of diverse tracks that range from feel-good vibes that are food for thought, to smooth, jazz-melodic sounds that appeals to the ladies, to hardcore and energetic bangers. There are also a variation of producers, including Swiff D, Scoop Deville, DJ Battlecat, Thelonious Martin, Chuck Inglish, and Pac Div’s very own, Like (Gabe).

Pac Div has always been known for their upbeat and smooth production that is accompanied by rebel chanting hooks and cohesive wordplay. These effects can be heard on the group’s most acclaimed track, “Mayor.” Other songs include, “Broccoli” off Don’t Mention It, “Top Down” from The Div. So it is no surprise that these familiar effects can also be heard on GMB, with tracks like “Bank,” “Sneakerboxes,” and “Automatic.”

Features on the album include, Mac Miller, Kurupt & DJ Battlecat, TY$, Blu and Kendrick Lamar. The album starts off with Pac Div chanting the lyrics, “We on top, nah we don’t quit, nah we don’t stop, nu-huh we don’t lose… She want that GMB,” which is a reintroduction to their music and indie endeavors. Then it transitions into “Bank,” which is the project’s most aggressive song as the crew lies out their frustrations with life on the track. The rest of the project follows what the crew does after the major bank robbery, as they ball out on “Sneakerboxes,” go to the strip club on “Slow,” explain the effects of the grind and hustle on “Can’t Help It,” dismiss all the haters on “F*ck Y’all,” the group boasts about newly acquired cash on “Black Acura,” and ends with the celebratory track, “It’s All Love” where the group reflects on how far Pac Div has come over the years.

A mishap with GMB is the single, “Black Acura,” that features Mac Miller. Each member of Pac Div has a strong lyrical ability, however, the weak production on the song makes it difficult for any of the MCs to sound decent on, especially Mac Miller, who sluggishly rhymes over the beat and brings nothing to the table. However, this misstep does not make you want to stop listening; the other songs after it make up for it tremendously.

Through versatility of sounds and styles, Pac Div delivers a well-polished album that goes back to the roots of who Pac Div truly is. The levels of lyricism are balanced as no individual outshines the others, which has not been as evident on other projects. As far as accomplishing a ground-breaking project, Pac Div is not quite there yet, but I don’t think that was their goal. It was most important that the group accomplished the goal of discovering themselves as individuals first and then delivering musically. “Its people out there still just finding out that there’s three dudes in the group, so its like we still have a lot to do with Pac Div,” says BeYoung (Bryan) in a recent interview. GMB represents the start of that journey and I’m sure that fans will follow them all the way to the top.

When you hear the title Jet World Order 2, you may think of the sequel to a story about the Illuminati planning to rule the airways with cruel intentions domination; or perhaps on a lighter note, an aviation company. But on realistic measures, one could assume that the Southern rap collective is back at it again with another smoked-up compilation album. Although the Jet Life members don’t have any motives to disturb the peace, they are working hard at building their empire in the music industry, and their flight isn’t coming down anytime soon.

Staying lifted as ever, the crew rhymes about the same topics as they did in Jet World Order: weed, chicks, stacking paper, and grindin’ to make it to the top and in the winner’s circle. The lyrics of “Money Gramz,”details this subject best: “Countin’ dough and rollin’ smoke, I swear to God that’s all I know/ No love for these b*tches either, it won’t be until the day I crow.”

Pilot Spitta showcases members Young Roddy and Trademark Da Skydiver the most, as Spitta is featured only two times on the project; one less feature to what was on the first album. Other features include Smoke DZA, CornerBoy P, Killa Kyleon, Dee Low and Fiend. Mikey Rocks did not make an appearance on the project. Young Roddy, who has a youthful sound that is slightly more hype than a typical stoner lyricist, is engaging and Trademark Da Skydiver who has a mellow sound and flows smoothly on each track. Roddy and Trademark were featured on every song.

The album starts out with the “Introduction” as Trademark Da Skydiver and Young Roddy speak about the Jet’s accomplishments of the year and give a list of shout outs. Track 3, “No Sleep,” is the group’s first single and music video off the record. The chorus of the videogame sound speaks for itself and represents the purpose of the album: “No sleep until I’m paid, I’m stuck on this come-up phase.” The hopes for coming up quick and getting rich continues into track 4: “On the quest for a mil, all I got is my word, I’m too real.” “Raw” also has video game effects, but not nearly as tight as “Blow Up” off the first album. Further into the record, “Sittin’ Low” has a chill vibe that has a variation of features, which is an advantage to the track. The best production on the project was hands down “Good Sense,” which features Young Roddy and is also the title of his latest solo mix-tape.

In order to fairly measure JWO2, it is hard not to compare it to Jet World Order. As always, the group, especially Curren$y on his solo projects, chooses beats that are suitable for their lightweight topics that provide a smooth and chill vibe that makes listeners want to obviously light up something and nod their heads. However, it feels like Jet World Order had way better production as the variation in beats made the project unique. JWO2 is a decent project with a few songs that stand out more than others, but it is not as timeless as Jet World Order, which you can listen to it all the way through. The 17-track project may have been more effective if there were fewer tracks. Simply put, Jet World Order was way better than JWO2.

You don’t have to be a stoner to enjoy the smooth rhymes and usually impressive production from the Jets Life crew; you just have to enjoy relaxed and mellow music. In fact, you don’t have to be any specific kind of person to enjoy JWO2. All in all, this album achieves its purpose of satisfying the smokers, but for the purposes of rating it just as a musical work, it fails to hit the mark. Perhaps the crew would then tell the critics to their motto: “Just Enjoy This Sh*t”.

Some album titles convey strong messages and use creative wordplay to show their hard work, pride, confidence, and of course, all of the marvelous benefits that go along with success. However, not many artists are capable of holding up those cocky record titles.

Nevertheless, Childish Gambino has proved his kingship with his latest mixtape, Royalty, which released on Independence Day. The NBC comedian, exhibits his newfound confidence and skill over eighteen tracks that demonstrates versatility, a solid balance between his insane flow, comedic style, metaphoric lyrics and sarcastic wordplay.

Royalty is the answer to what we all hoped for after Gambino’s pop cultured breakout EP Camp (2011), as critics questioned whether he’d be able to diversify his subject matters and attract a broader audience. Camp painted a vivid picture of Gambino’s personal struggles about not fitting in and was different because of his unconventional approach.

A track that is a reminder of Gambino’s familiar style is “Bronchitis,” where Gambino sincerely draws a connection between his past comedic endeavors and current music journey as he says, “Speak the truth and everybody going to hate you/Unless it’s funny, that’s how I used to make money.”

Royalty is exactly what you would expect from a hip hop mixtape, and the progression and growth from the EP is not to be ignored.

As he says in his hour-long stand-up comedy appearance titled “Weirdo,” “I like weird stuff, I like weird, crazy music… and we really don’t have that anymore.” Gambino has found an outlet where he can be himself and listeners can just accept that because that’s just him.

Gambino is not trying to sound tongue in cheek when he inserts sarcasm and street swagger into his delivery, he’s just being himself.

Gambino demonstrates his healthy ego by teaming up with other MCs for a friendly competition of skills (for the most part, they weigh each other out), as “Royalty” features notable artists, such as Wu-Tang legend, RZA and Ghostface Killah. Other features include Bun-B, TDE’s Schoolboy Q and Ab-Soul, Nipsey Hussle, Danny Brown, and Tina Fey? Yes, Gambino’s previous boss makes her rap debut on the mixtape (“Real Estate”). Now, that’s pure comedy.

Another track that stands out is the Wu legend’s and the Hypnotic Brass Orchestra’s appearance on “American Royalty,” which doesn’t include any wild punch lines but seems to have an effortless flow. Other songs to check out is “Black Faces,” “Wonderful,” “It May be Glamour Life,” “One Up,” “We Ain’t Them,” and “Unnecessary.”

In his song “Shoulda Known,” Gambino says, “We got the shows, we got the paper, but I want respect. So tell them haters, we ain’t quitting yet.”

Royalty represents the 27-year old’s self-made transformation into a respected hip hop artist. So whether you’re a hard -core hip hop head or a hipster junkie, Gambino creates the perfect balance to satisfy any listener and make new fans. Now the least you can do is give it a listen.

The standard definition of the term energy is a feeling of possessing such strength and vitality, and perhaps this is the most fitting adjective that symbolizes rapper Cappadonna, the Staten Island native from the hip-hop group the Wu Tang Clan. Energy is also an element that remains consistent throughout his latest work of The Pilgrimage album.

Taking a look back into the mid 90’s, Cappadonna made his musical debut on the songs “Ice Cream” and “Ice Water” on Raekwon’s solo album, Only Built 4 Cuban Linx and later he was featured on the track “Winter Warz” along with Ghostface Killah, Masta Killa, U-God, and Raekwon, for the soundtrack to Don’t Be a Menace to South Central While Drinking Your Juice in the Hood. He was also featured on Ghostface Killah’s 1996 release of Ironman and appeared on Wu-Tang release of Wu-Tang Forever in 1997 with one of the successful songs being “The Triumph.” Cappadonna released his solo album of The Pillage in 1998, produced by RZA, True Master & Goldfingaz with features from Wu-Tang members.

Although Cappadonna’s name did not appear on the group’s official recording contract with Loud Records, he is still considered a member of the group and was listed on the liner notes of The W in 2000 as a member of the group. It is also debatable that he was one of the coldest rappers from the Wu-Tang rap group, but with his unfortunate run-ins with the law for drug reasons, he wasn’t recognized at the height of the Wu-Tang’s career particularly, until later of course. He came out of prison rapping twice as long and twice as hard with energy that was overpowering, enough for you to feel it.

As mentioned before, Cappadonna brought forth energy on The Pilgrimage, which is something that always made him stand out before. Containing the dynamic message of bringing light to his life experiences of both trials and tribulations, he speaks powerfully on everything that he has been through, and also provides a hopeful lesson for listeners.

It is debatable that The Pillage is better than The Pilgrimage because of the features and beats provided by the Wu-Tang, so if you were searching for the feeling of the old Wu-Tang on this album, you were close to being disappointed. The features were not completely bad, but it definitely wasn’t the same, and the artists didn’t hold weight compared to Cap especially in energy. It seemed as though Cappadonna was trying to put other rappers on rather than collaborating with more established artists.

Although, Cap didn’t provide features from original Wu-Tang members, his energy was long lived, especially in songs “Dart Imports.” Other good songs off The Pilgrimage are “Good Wine,” “Put God First,” “For You,” and “Can’t Believe It’s Him.”

The album would have had a better effect if it started off with “Cuban Link Kings,” although it has a long interlude, it had a nice sample Aretha Franklin’s “Young, Gifted and Black.” The song takes you back to the height of the Wu-Tang style, which is greatly missed and what listeners are commonly looking for in a solo album. But it was nice to listen to his journey of what he’s been up to lately.
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